Infinitely Losing My Edge
Yeah, I'm losing my edge.
I'm losing my edge.
The kids are coming up from behind.
I'm losing my edge.
I'm losing my edge to the kids from Monaco and from Jakarta.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
I'm losing my edge.
I'm losing my edge to the kids whose footsteps I hear when they get on the decks.
I'm losing my edge to the internet seekers who can tell me every member of every good group from 1960 to 1970.
I'm losing my edge.
To all the kids in Manchester and Copenhagen.
I'm losing my edge to the art-school Tokyo kids in little jackets and borrowed nostalgia for the unremembered nineties.
I'm losing my edge.
I'm losing my edge.
I can hear the footsteps every night on the decks.
But I was there.
I was there in 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the synthesizer sounds with much patience.
I was there when Nile Rodgers started up his first band.
I told him, "Don't do it that way. You'll never make a dime."
I was there.
I was the first guy playing Barclay James Harvest to the jazz kids.
I played it at Trash.
Everybody thought I was crazy.
We all know.
I was there.
I was there.
I've never been wrong.
But I'm losing my edge to better-looking people with better ideas and more talent.
And they're actually really, really nice.
I'm losing my edge.
I heard you have a compilation of every good song ever done by anybody.
Every great song by Mr. Review. All the underground hits.
All Be Bop Deluxe tracks. I heard you have a vinyl of every Barrington Levy record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a spring reverb and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Skriet record.
I hear that you and your band have sold your linndrum and bought a sitar.
I hear that you and your band have sold your sitar and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Interpol,
June of 44,
Darondo,
Pere Ubu,
Kool Moe Dee,
Siglo XX,
Crooked Eye,
Juan Atkins,
Tomorrow,
Alice Coltrane,
The Misunderstood,
Joey Negro,
Marine Girls,
Chris & Cosey,
Fluxion,
Matthew Bourne,
D'Angelo,
The Golliwogs,
Cal Tjader,
The Wake,
Stetsasonic,
The Grass Roots,
Theoretical Girls,
T. Rex,
Buzzcocks,
Soft Machine,
Kerrie Biddell,
The Count Five,
Glambeats Corp.,
Tom Boy,
Laurel Aitken,
Agitation Free,
Art Ensemble Of Chicago,
Can,
Arab on Radar,
John Holt,
Aswad,
Sun Ra Arkestra,
Sugar Minott,
Kaleidoscope,
The Saints,
Talk Talk,
Warren Ellis,
Parry Music,
Spoonie Gee,
Rekid,
Cybotron,
Camouflage,
10cc,
The Human League,
One Last Wish,
Mark Hollis,
DJ Style,
Brothers Johnson,
Joe Smooth,
Skaos,
Marmalade,
The Vogues,
Erasure,
The Gories,
Second Layer,
Bronski Beat,
The Fall, The Fall, The Fall, The Fall.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.